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COME FAR LITIGARE MAMMA E PAPÀ

There are children who dream of a perfect family, made up of smiles, cuddles and organic snacks. But Gabriele, who has all this, can’t stand it. For him, happiness lies in having separated parents, like his classmates, who have double presents, double holidays, double pocket money and unlimited video games. Surrounded by the constant attention of mother Miriam and father Stefano, accomplices and in love more than ever, Gabriele feels trapped. When his parents reveal to him their wish to move out of town, he realizes that the only solution to avoid this nightmare is to get them separated! With the help of his best friend Rebecca, he implements a diabolic plan to achieve his goal.

Categories: #Giffoni54 - 2024, Films Catalogue, Out of competition, Premiere

Title	COME FAR LITIGARE MAMMA E PAPÀ
Movie Type	Feature
Genre	Fiction
Section	Premiere
Country	Italy
Production Year	2024
Movie Length	93’
Director	Gianluca Ansanelli
Screenplay	Gianluca Ansanelli, Tito Buffulini
Cast	Andrea Conde’, Carolina Crescentini, Elisabetta Canalis, Giampaolo Morelli, Judith Schiaffino, Luca vecchi, Nino Frassica, Valentina Barbieri
Director of Photography	Donato Sileo
Editor	Jacopo Reale
Casting	Armando Pizzuti
Production Designer	Sergio Cosulich, Tiziana Liberotti
Costume Designer	Chiara Maria Massa
Music	Umberto Scipione
Produced by	Marco Belardi
Production	Warner Bros. Entertainment Italia Greenboo Production (Italy)
Festival Contact	Warner Bros. Discovery (Italy) www.warnerbros.it

Director's Bio

After a long career as a writer for TV and theater, he debuted in cinema first as a screenwriter and then as a director, specializing in comedy. He has signed some of the biggest Italian comedy hits of recent years. Films such as AMICI COME NOI, which marks the debut of comedians Pio and Amedeo, and QUEL BRAVO RAGAZZO directed by Enrico Lando, POLI OPPOSTI by Max Croci, NATALE A LONDRA by Volfango de Biasi, OMICIDIO ALL’ITALIANA by Maccio Capatonda, and CON TUTTO IL CUORE by Vincenzo Salemme.

He is the author of many successes of Italian comedian Alessandro Siani: SI ACCETTANO MIRACOLI, (Golden Ticket 2015), IL GIORNO PIÙ BELLO DEL MONDO, CHI HA INCASTRATO BABBO NATALE, and TRAMITE AMICIZIA. Additionally, UN FIGLIO DI NOME ERASMUS by Alberto Ferrari and 7 ORE PER FARTI INNAMORARE and FALLA GIRARE by Giampaolo Morelli. As a director and writer, he debuted with the film ALL’ULTIMA SPIAGGIA in 2012, followed in 2016 by TROPPO NAPOLETANO, which has already become a small cult classic, and BENVENUTI IN CASA ESPOSITO in 2020. His fourth film as a director and screenwriter, LA GUERRA DEI NONNI, was released in 2023.

Director's Note

“COME FAR LITIGARE MAMMA E PAPÀ is a children’s story. One of the privileges of the writer’s profession consists in being able to immerse oneself, mind and soul, into the lives of many characters, which, undoubtedly, amplifies the sensation of life itself by giving a single existence the experiences of many others. I have already written and directed films narrated from the point of view of children and the feeling is extremely pleasant: almost like going back to the time when we were pure.

Children are vital dreamers, curious and equipped with that pinch of healthy madness that makes life a very adventurous place. In short, being a child again is exciting and telling a story from their point of view is very fun. At the basis of the story there is a simple mechanism that comedy has always fed on: the overturning of normality. In fact, if normally children would like their parents to always be together, here the comedy comes precisely from the fact that our protagonist wants to make them separate at all costs. But be careful: for the spectator to play along, this mechanism must, despite its absurdity, sound credible and allow those watching the film to put themselves in the shoes of the protagonist. And here modernity comes to the rescue: because today, it can be said, not even children are any longer what they once used to be.

They are shrewd and far too smart, they have learned to leave psychological worries to adults and get straight to the heart of the matter. Because ultimately, as our Gabriele thinks, the children of separated people are much better off! What feels bad, if anything, are the parents who, at the age of fifty, go around clubs trying to pick up some kind of partner.

Parallel to the story seen from the point of view of the little ones, there is then the story of the two parents, Stefano and Miriam, who find themselves going through a real crisis as a couple. And here arises the danger and at the same time the challenge of this film which consists in making this mix of tones between adults and children, between comedy and sentimental drama […]”